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GET READY TO HEAR WHAT
THE NEW YORK DAILY NEWS CALLS
ONE OF THE BEST SCORES IN THE LAST DECADE!
GHOSTLIGHT RECORDS
TO PRODUCE CAST RECORDING OF BROADWAY’S

THE BRIDGES OF MADISON COUNTY

Get The Bridges of Madison County Tickets

New York, NY Ghostlight Records will record the original Broadway cast recording of The Bridges of Madison County, the new romantic musical by the Pulitzer Prize and Tony Award winning team of Marsha Norman (‘night Mother, The Color Purple) and Jason Robert Brown (The Last Five Years, Parade). The show, which opened on February, is currently running at the Gerald Schoenfeld Theatre (236 West 45th Street). The two-disc album – which will be produced by Jason Robert Brown and Jeffrey Lesser with Kurt Deutsch serving as executive producer – will be recorded on Monday, March 3 for a release later this season. Selections from the score premiered on “Sirius XM On Broadway” earlier this month. Sign up to pre-order at www.sh-k-boom.com/bridgesofmadisoncounty.

Published in Broadway

GHOSTLIGHT RECORDS
WILL RELEASE THE ORIGINAL CAST RECORDING
OF THE HIT NEW MUSICAL COMEDY

MURDER FOR TWO

IN 2014

“Ingenious! A snazzy double act.” –  The New York Times

New York, NY Ghostlight Records will release the original cast recording of the hit new musical comedy MURDER FOR TWO in early 2014. MURDER FOR TWO which was a hit at Second Stage before transferring to New World Stages, was called “a charmingly frenetic all-stops out musical comedy” by Entertainment Weekly, and has already extended its run through March 16, 2014. The album will be produced by Joel Moss with Kurt Deutsch serving as executive producer. Sign up to pre-order at www.sh-k-boom.com/murderfortwo.

Published in Broadway

GHOSTLIGHT SET TO RECORD & RELEASE CAST ALBUM
MCC THEATER’S HISTORIC PRODUCTION OF “ C A R R I E ”

COMPANY GOES INTO RECORDING STUDIO APRIL 17 

New York, NY (4/9/12) – Ghostlight Records announced today that they will go into the recording studio with the cast of Carrie next week, April 17, to record the first-ever cast album for the historic production. Release dates for the album will be announced at a later time.

An Epic, Cinematic ‘Legrand Affair’ is Readied, as Melissa Errico’s Eagerly-Awaited Collaboration with Michel Legrand and Phil Ramone Gets October 18th Release on Ghostlight Records


Imagine a Passionate Kiss Backed by a 100-Piece Orchestra – Errico Delivers an ‘Enormous, Intimate, Sensual’ CD, Years in the Making


Few projects convey the sense of scale, ambition and passion as Melissa Errico’s ‘Legrand Affair.’  Literally years in the making, this improbable endeavor has become a reality, and is confirmed for October 18th release on Ghostlight Records. ‘Legrand Affair’ is a collection of songs written by the legendary Michel Legrand, performed by Errico with a 100-piece symphony orchestra in Brussels, and produced by Phil Ramone. Their goal was to juxtapose something enormous with something intimate…to create epic, larger-than-life, cinematic art…but at the same time, make it feel akin to the most sensual kiss you’ve ever experienced. Listeners will soon be able to appreciate the delicate grandeur of their efforts. For now, learn more, and hear samples, via this link: 
http://sh-k-boom.com/melissaerrico_legrandaffair.shtml

The story behind the making of the album (which will feature a range of classic Legrand compositions as well as new material written for Errico by Legrand with Alan and Marilyn Bergman,) is as sweeping as the final product. As seen in Errico’s detailed ‘Musing’ essay, below, the process sounds more like a James Bond film than a trip to the recording studio, and indeed it was…the epic journey included stops in New York, Los Angeles, Paris, Brussels, Switzerland, Normandy, Andorra, Toronto, Costa Brava and a listening session while flying over the Pyrenees to Spain, with Legrand himself piloting a private plane. Errico even had three children over the course of the six years it took to see ‘Legrand Affair’ to completion, but recognizes it was all worth the wait: “I’m proud to have gotten it to the place it was always meant to be, in honor of Michel Legrand who I love and respect beyond words.” 

Highlights abound on the upcoming CD, from the Oscar-nominated ‘What Are You Doing For the Rest of Your Life’ to ‘The Windmills of Your Mind’ (winner of the Academy Award for Best Original Song, from ‘The Thomas Crown Affair’.) On ‘I Will Wait For You’, another Oscar-nominated track, Errico delivers an unexpected song for our times, a sentiment warmly conveyed to her by military families following a recent concert in Maryland. Read a preview of the event, here: 
http://www.somdnews.com/article/20110729/ENTERTAINMENT/707299993/1068/melissa-errico-featured-in-grand-finale&template=southernMaryland 

The album was Co-Produced by Richard Jay-Alexander, Errico’s concert director, close collaborator and longtime friend (responsible for casting Errico as Cosette in the first national touring company of Les Miserables, when she was an 18 year-old freshman at Yale.)

‘Legrand Affair’ marks Errico’s third solo release, following ‘Blue Like That’ (EMI) and ‘Lullabies and Wildflowers’ (VMG/Universal). Additionally, it is her third collaboration with Ghostlight Records. She appeared on the label’s ‘Finian's Rainbow’ recording, as well as on their Broadway cast album of Michel Legrand's ‘Amour’. Ghostlight will also reissue ‘Lullabies and Wildflowers’.

‘Legrand Affair’ - Abbreviated Credits:
Produced for Records by Phil Ramone. Album Co-Producer Richard Jay-Alexander. Mixed byLawrence Manchester. Album Executive Producers - Kurt Deutsch and Patrick McEnroe.Associate Producers - Marc Silag and Pat Rains. 
Featuring The Flemish Radio Orchestra (newly renamed The Brussels Philharmonic) - recorded in Leuven, Belgium, July 5th - 10th, 2005. Orchestra conducted by Michel Legrand. All Piano by Michel Legrand. CD Booklet contains never-before-seen photos, full album credits and a note from Melissa Errico.

‘Legrand Affair’ – Track Listing: 
1. "I WAS BORN IN LOVE WITH YOU"
 
Music:  Michel Legrand Lyrics:  Alan and Marilyn Bergman

2."THE SUMMER KNOWS" 
Music: Michel Legrand Lyrics:  Alan and Marilyn Bergman

3. "HIS EYES, HER EYES" 
Music:  Michel Legrand Lyrics:  Alan and Marilyn Bergman 

4. "THE WINDMILLS OF YOUR MIND" 
Music:  Michel Legrand Lyrics:  Alan and Marilyn Bergman

5. "I WILL WAIT FOR YOU" 
Music: Michel Legrand Lyrics:  Norman Gimbel

6. "IN ANOTHER LIFE" 
Music:  Michel Legrand Lyrics:  Alan and Marilyn Bergman

7. 'MARTINA" 
Music:  Michel Legrand Lyrics: Hal Shaper

8. "DIS MOI" 
Music:  Michel Legrand Lyrics: Francoise Sagan

9. 'YOU MUST BELIEVE IN SPRING"
Music:  Michel Legrand Lyrics:  Alan and Marilyn Bergman

10. "WHAT ARE YOU DOING THE REST OF YOUR LIFE?" 
Music:  Michel Legrand Lyrics:  Alan and Marilyn Bergman 

11.  "HOW DO YOU KEEP THE MUSIC PLAYING?" 
Music:  Michel Legrand Lyrics:  Alan and Marilyn Bergman 

12. "SOMETHING NEW IN MY LIFE" 
Music:  Michel Legrand Lyrics:  Alan and Marilyn Bergman 

13. "MAYBE SOMEONE DREAMED US" 
Music:  Michel Legrand Lyrics:  Alan and Marilyn Bergman 

14. "ONCE UPON A SUMMERTIME" 
Music: Michel Legrand Lyrics:  Johnny Mercer 

15. "CELUI-LA" 
Music: Michel Legrand Lyrics: Eddy Marnay


Melissa Errico’s ‘Musing’ – 
A Chronology of the Project:
Michel Legrand showed up at my door on the day after Valentine’s Day, February 15th, 2005 and stayed for a week in NYC.  We hadn’t seen each other since the Tony Awards the year before where AMOUR was celebrated with many nominations. I had since been on Broadway in Dracula and it had just closed.  Michel had always said he would like to consider making an album together and the time had come.  He came to New York to spend time together, to listen and practice and sing and see if we could find an idea that felt right.  On the first day, he sat at my table and mused, saying that we will only make a recording if we can find something that speaks to us, a spirit, a connection to certain songs and a vision.  And then he never talked again about it.  Michel isn’t a big talker.  He likes to DO.  He likes to play music and focus (or wander) and get enveloped in work.  So, we began to go through his music.  I had compiled a massive binder of his songs, perhaps every song he ever wrote (I had a wonderful time before he arrived researching and finding experts with impressive libraries).  Michel was astounded by this binder and poured through it for days, sometimes not even remembering certain songs or collaborations, seeing handwritten songs from films long forgotten.  We went through mountains of unknown songs, and then would come to a famous song, and around it went; Michel would sit and play quietly in our apartment, and I would sing along, with my husband Patrick tip-toeing in and out, kindly bringing us sandwiches or we would never have stopped to relax ever.  It was a dream come true.  Michel sometimes suddenly wanted to watch a film, and we would call his manager who would messenger over copies of old movies and we would sit and watch them in the afternoon.  Michel told stories about his life during the war, of his piano teachers, of his mother, of his career and incredible collaborations and friendships, and some of the maverick things he has done such as spending three days frolicking on a beach with Miles Davis when they were meant to be composing, or the time he wasn’t finished orchestrating a movie and asked the airplane pilot to circle around and not land in Los Angeles yet. It was a magical time for me, and Patrick will never forget those days of our home filled with this music.  It was almost surreal for me.  My father is a pianist, and since I was a little girl, he has played Legrand’s music.  To think that the universe had brought me this incredible good fortune to meet Michel and then to work with him on Broadway and now to even THINK together about a recording was beyond any imaginable expectations. 

So, Michel and I played through his songs, and always quietly and tenderly. Neither of us seemed to want to do anything theatrical or bombastic—we found ourselves exploring the poetic words, and meandering through his painfully gorgeous melodies, always with intimacy.  I knew the stories of his films, and if I didn’t know the stories behind the songs, he would let me know. The lyrics themselves would hit me and I’d know right away if something was mine to sing.  Michel would feel it too, and he would play and decorate and inspire me along with his extraordinary pianistic color, which flows from him like water.  I’d hold the melody and the meanings while he would go to wild corners of his imagination, sometimes bringing in classical motifs or jazz or folk.  He would write notes in the margins like “Mozart meets folk” or “Ravel concerto in G major” and then his hands would sort of combine these elements in a fascinating way.  I would sit at the piano bench and delight in his creativity, and at the same time I would feel completely lost in the simplicity of a truthful song, and I’d feel totally balanced. It was a strange thing but it started coming together. We spoke of some of our favorite cds (such as Shirley Horn Here’s To Life/with Strings and Joni Mitchell including her beautiful orchestral Both Sides, Now album) and Michel was certain it had to be a huge symphonic recording.  How on earth would that actually ever happen I thought!? , “enormone, intime, sensuelle” he said. 100 musicians in a symphony for an intimate cd?  Well, that’s just what we set out to do. 

What happened next is something of a dream, and a dream with momentum, as we started writing lists and trusting ourselves.  By the fifth day, Michel jumped up and said we had to call Phil.  He got on his cellphone and with his petulant charm and heavy French accent said “hello Phil!?  Phil!  How are you!?  It is Michel!  Oh hello my friend.  I want you to come over, I am with Melissa, Melissa ERRICO, we have something to sing for you, I want you to hear it. Come. Come come.”  The next day, Phil (who turned out to be PHIL RAMONE) was in my apartment and I was singing these arrangements for him.  (I had met him once before when I was chosen to sing for Jimmy Webb's induction into the Hall of Fame.)  Michel and I had about 30 songs on a favorites list, and six arrangement ideas to present to Phil that day: The Summer Knows, Windmills, Something New In My Life, I Was Born in Love With You, Maybe Someone Dreamed Us, Once Upon A Summertime, and a spare Dis-Moi.  Phil was clearly a good friend to Michel, and approached him (and me) full of warmth, with ready hugs and a calm demeanor, entering the unknown.  He had no idea what we were up to, and he wasn't phased one bit, perhaps sensing a journey was upon us, totally willing.  After some small talk, Michel unplugged from socializing and started playing the piano, in sometimes manic dashes up and down the entire keyboard, as if to warm up his hands for a race, or perhaps to get some energy out before his concentration would kick in.  Michel had his head down and we would all just watch, and then he would lift his head and smile and want to chat again—and then he drew me to his piano bench and was ready to sing.  I sat down, at what by now had become a familiar spot at his side.  

As we sang for Phil, I had a calm feeling that Michel and I had become something of a team; after all, we had already been through a lot of excitement.  In the last two years, we had already done a month-long workshop and a Broadway show.  We had done press appearances, had our own opening night bash at The Tavern On The Green and been on the red carpet at The Tony Awards. During Broadway preview performances, Michel was given the task to add more music for my character.  While much of our previews were embroiled with technical issues (the central character walks through walls, but some of those walls were falling), Michel and I found ourselves in a quiet place in the lower lobby of The Music Box Theatre where there is a grand piano.  It was at that piano where he would present new songs to me, and I would sit down to learn new melodies to be put into the show that very night. (Because it was written overnight and put into the show immediately, I did have the lyrics to “Other Peoples Stories” pasted discreetly in the magazine my character conveniently carried as a prop.) We had a way of not noticing the chaos of a Broadway tech rehearsal around us, and just staying in a fantasy.

So, as I sat at Michel’s side in my apartment, Phil Ramone may have sensed that we were quite happy to share our ideas for a cd. I recorded those at-home performances, and Phil was a wonderful audience. He reveled in the colors, and he seemed to understand me and want to support us.  I was so grateful. At the end of that day, it was agreed that we would go into the studio the next day to make demos at Right Track.  Michel sat at my kitchen table and started writing on music paper which he always carries with him.  He hadn’t stopped to eat or drink, so I made him food and he didn’t look up. He was writing arrangements for trio, for tomorrow.  He was writing for an hour or so, and then we met the next day, where I think I saw him scribbling a few more times as we settled into the recording studio.  That was the day I met Steve Gadd and David Finck.  And what a revelation that was! Michel presented them with charts for The Summer Knows, Windmills, Maybe Someone Dreamed Us, Once Upon a Summertime and Something New In My Life. And off we went.  I'll never forget hearing Michel suddenly change tempos completely and Steve Gadd flawlessly following him, making things funky and delicate at the same time, tender and groovy, suddenly jazzy and then suddenly quite classical.  Michel probably wasn't reading his arrangements. At the end of the day, we recorded the two French songs Dis-Moi and Celui-La. Dis-Moi was always a heartbreaker for me, as it tells the story of a woman who has given up her children and left her husband for a lover who is now drifting from her.  It is a song of fear and pleading, but most of all a portrait of a woman who has surrendered entirely; from a film – and with lyrics- written by the novelist Francoise Sagan.  Celui-La was a song I wanted to sing.  Michel told me he wrote it the day he heard that President Kennedy was dead.  In that song, I feel so much about Michel’s values and his sense of honor.  We made a one-take demo and that is the song that ends the cd, never touched.

After the demos were made, Michel went back to Paris and Switzerland, and began to write the 
orchestrations.  My husband and I visited him once to rehearse in France, and Phil Ramone accompanied us, enjoying wonderful afternoons where Michel’s wife Catherine treated us with such graciousness at their home, including a breathtaking impromptu performance one day on her harp.  None of us will ever forget the view from the car approaching Michel’s house in Normandie, dominated as it was by an enormous spiraling water mill.  We all played by the water mill and enjoyed the blossoms falling all around us in the grass.  We filled a week with rehearsals and discussions about the music, and by the end of our trip, we had solidified a recording song list and Michel could continue to write.  When I returned to New York, I was working on a hit production of Finian's Rainbow and preparing to do Camelot with Jeremy Irons.  Then one day, I was asked by Michel to fly to Toronto to learn a new song he was writing for our cd.  And it was in Toronto where Michel presented me with “In Another Life,” and I cried.  Catherine was there, standing by the piano to support Michel as he played it to me for the first time in their hotel suite, and it was truly a moment where I felt so touched and thankful to be with them both.

The next time I saw Michel was in Belgium in early July on a Monday morning. I had a closing night performance the prior Saturday eve in Westport CT for the grand re-opening of the Westport Country Playhouse where I had champagne with Paul Newman and Joanne Woodward, and was in London the following afternoon to pick up my husband from the Wimbledon final, only to hop a train together at dawn en route to Leuven.  And we were only 10 minutes late for the recording session at the concert hall that Monday at 10am!  As I walked in the room, Michel was playing “In Another Life” with 100 musicians.  I have it all on video, thanks to my manager.  I was speechless, I was elated.  We were there.  A symphony orchestra.  I had never seen so many people in one orchestra.  I counted 11 upright bass players.   It was a glorious week, and a glorious 6 day experience, and Phil Ramone was steady and brilliant.

The first time I heard the recorded orchestrations, I was at Patrick’s side in a small airplane, being flown by Michel Legrand (yes, as the pilot!) over the Pyrenees to Spain where he wanted us to all go and celebrate for a few days with his friends.  Fortunately, I had a portable cd player and Michel presented me with the recording at the little airport with its little cafe, surrounded by grassy fields, just outside of Paris.  I was in the clouds (literally) when I listened for the first time to all that had been captured in Belgium. It wasn’t all play and Michel was working upstairs all the time on a new musical, and new songs, and for 2 days he asked Patrick to drive him 7 hrs to Andorra where we spent a long weekend with Chucho Valdez, enjoying a very exciting concert.  Michel travels with a small wooden piano and practiced the entire car ride, asking my husband to drive with less swerving, as we twisted through the mountains. I had to return to Los Angeles for Camelot, or I might never have left the Mediterranean air of the Costa Brava, and the sense of sunlit wonder at what had been created. 

In Los Angeles, I spent some time with Alan and Marilyn Bergman and don’t expect I will ever see a more radiant flower garden (or witness a more gentle and beautiful marriage).  That August in LA, Michel arrived to do jazz concerts and included me and my Amour co-star Malcolm Gets on stage.  In the months to follow, we all continued to work in NYC recording piano over-dubs and vocals, until my life became a true manifestation of “Something New In My Life” as Patrick and I welcomed our first daughter that year.  I never lost sight of the recording or the mixing process, but motherhood had an immediacy I could not deny.  I thought I would release the cd several times along the six years to today, but I held it close, and had two more daughters. Michel did not rush me, and Phil the same. Over the years, Michel visited New York and we appeared together on stage at Joes Pub and Dizzy’s at Lincoln Center, as well as did a photoshoot for this cd, and I came to see Michel perform at Birdland.  Surrounded by beautiful babies and several sleepless years, I would work on the music and then take time to step away from it, letting life and air just breathe around it for a while.  I would return to it vigorously and then I would let it wait a moment, as I thought about certain details of it.  Then, I'd return again.  And for long periods of time I didn't see Michel.  Now, with the three vibrant graces at my side, I feel I have sung this recording as I always meant to sing it.  I did the final vocals in a concentrated few days, with only two takes per song, or sometimes merely one.  Perhaps it was with renewed energy due to the twins just beginning to stand on their own two feet, literally, or perhaps it was the sweet experience of returning to Broadway in White Christmas. I sang the music in the presence of an old friend, Richard Jay-Alexander, and we didn't seek perfection, we sought to connect to the meanings, and all the years I had cherished these songs.  And in my head and in my heart I always thought of my days with Michel, wanting to give him and his orchestrations the voice we had wanted, never losing sight of our vision, never letting go of that feeling of being at his side. 

More about Melissa Errico:  
Melissa Errico is one of the most versatile women to have come out of this Broadway's young generation, proving herself both a great interpreter of classic musicals and modern music alike, as well as a gifted recording artist and film/television presence.  She has starred in seven Broadway musicals and released two major solo cds: Blue Like That (EMI) and Lullabies and Wildflowers (VMG/Universal).  She has been called everything from "divine" to "the voice of enchantment" to "one of the most valuable assets of the musical theater" by the NY TIMES as well as "incandescent" (Daily News) and "blessed with every attribute a grand dame of Broadway requires: star power, voice, looks, ability, personality, technique. An aphrodisiac, as it were, that galvanizes a musical into life." (Clive Barnes).  "Our most earthy and soulful ingenue...  She both sparkles and is unmannered."  (USA Today)  Her recordings have been praised as "intimate exhalations, sung with her heart-on-sleeve" (Billboard) and "a classy classic sound, with taste and imagination" (Washington Post) and "...ethereal, gorgeous, elegant, popular.  Delivered with inward emotion and real artistry"  (NY TIMES).   Upon coming to hear her sing the role of Fiona in BRIGADOON in a one-night only concert on Broadway in June 2010, Ben Brantley of THE NY TIMES wrote "this beautifully sung performance had the bewitched aura of the exquisitely ephemeral. I left the Shubert feeling blessed and privileged, and I knew many of my friends would feel envious when I described what I had seen." 

In 2003, Melissa won a Tony-nomination for Best Leading Actress in the Broadway musical AMOUR, 
composed by multi-Oscar-winning composer Michel Legrand (Yentl), her musical idol, who went on to orchestrate and conduct a 100-piece symphony for the recording of Legrand Affairproduced by Phil Ramone, to be released October 18th 2011.  This recording is a true celebration of his songs and rare occasion for her to collaborate with Michel in the way he has only done a handful of times, including for singers such as Barbra Streisand, Sarah Vaughn and Johnny Mathis.  AMOUR happily reunited Melissa with author/director James Lapine as she had starred the year before at The Kennedy Center opposite Raul Esparza in The Sondheim Celebration's SUNDAY IN THE PARK WITH GEORGE where Stephen Sondheim wrote some new lyrics for her interpretation of Dot.

Melissa's career began as Cosette in LES MISERABLES when she was only 18, for which she took a 
leave of absence from Yale University and returned to graduate with high honors and an art 
history/philosophy degree.  That year, she went on to star as Eliza Doolittle in Howard Davies' 
daring and unusual revival of MY FAIR LADY on Broadway, and was called "beguiling" in the 
opening sentence of the NY Times review.  Melissa revived her spunky and "frisky" (NY Times) 
portrayal of Eliza in 2003 opposite John Lithgow in Los Angeles.  She has also starred on Broadway in HIGH SOCIETY, ANNA KARENINA and DRACULA.  It was at The Hollywood Bowl in 
2006 where Melissa first starred opposite Jeremy Irons in CAMELOT (a production which Variety 
praised as "fast, funny, inspired and deserving of a long run") and the next year in an acclaimed 
SOUND OF MUSIC.   

In 1996, in what many recall as a major breakthrough, Melissa's witty sensual portrayal of Venus at City Center in Weill's ONE TOUCH OF VENUS took NYC by storm ("an overnight sensation! a star is born"- "divine" NY Times).  She has a long resume of Broadway and off- Broadway starring credits, including the 2009-2010 Broadway revival of WHITE CHRISTMAS in which she played the Rosemary Clooney role. Over the years, she has regularly won acclaim in non-musical plays by Shaw, Wilde and modern works such as by Wally Shawn.  In 2010, she was nominated for Best Actress in a Play at the Drama Desk Awards for her work in the title role of George Bernard Shaw's CANDIDA, and starred in an independent film called PATRIMONY opposite Robert Vaughn.  Her other film credits include Frequency and Life Or Something Like It (opposite Angelina Jolie) and her TV credits include a series regular on Darren Starr's CBS show Central Park West and many network guest star roles including Six Degrees and Miss Match.  

During the summer of 2011, Melissa co-starred with Alec Baldwin in GIFT OF THE GORGON by Peter Shaffer, and reprised CAMELOT with Jeremy Irons for one-night only on Broadway at The Shubert Theater. Melissa has sung solo engagements at The Cafe Carlyle and The Algonquin's Oak Room and has sung on many of America's most esteemed concert halls as well as on smaller stages and readings supporting developing new modern musicals. She is active in several charities, especially The Bowery Babes, a NY 501c3 non-profit she founded in 2005 which supports parents in downtown Manhattan, and provides education, counseling and connection.  Since becoming a mother (to Victoria in 2006; and Diana and Juliette in 2008), Melissa has appeared with symphonies all over the country, including The Cleveland Orchestra and The New Jersey Symphony with Steven Reineke. She made an acclaimed London debut in the summer 2008 (while pregnant with twins!) with The Royal Philharmonic at The Palladium Theater with Angela Lansbury in celebration of Jerry Herman, a concert she reprised to great acclaim at The Kennedy Center in March 2009 with The National Symphony.  She has toured with such conductors as Michael Tilson Thomas, and concert artists like Brian Stokes Mitchell and Michael Feinstein. Errico is married to Patrick McEnroe and they live in Manhattan. For more: www.melissaerrico.com.

Visit: http://sh-k-boom.com/melissaerrico_legrandaffair.shtml

‘Catch Me If You Can’ Original Broadway Cast Recording Set for May 23rd Digital and June 28th Physical Release By Ghostlight Records


‘Catch Me If You Can’ Earns Four Tony Award Nominations:
Best Musical
Best Actor – Norbert Leo Butz
Best Orchestrations – Marc Shaiman and Larry Blank
Best Sound Design – Steve Canyon Kennedy

Get Catch Me If You Can Tickets


Ghostlight Records is proud to confirm the release of the Original Broadway Cast Recording of ‘Catch Me If You Can’. The album is set for May 23rd digital and June 28th physical release, and captures music from the new production based on the hit DreamWorks film and the incredible true story that inspired it.

As announced on May 3rd, ‘Catch Me If You Can’ has been nominated for four Tony Awards, including Best Musicial, Best Actor, Best Orchestrations and Best Sound Design.  The production has also been honored with Drama Desk Award Nominations for Outstanding Music and Outstanding Lyrics, and with an Outer Critics' Circle nomination for Outstanding New Score.

The upcoming OCR was recorded April 18, 2011 at MSR Studios in New York City. It was Produced for Records by Marc Shaiman and Scott M. Riesett. Album Executive Producer: Kurt Deutsch. Recorded and mixed by Lawrence Manchester. CD Booklet features a liner note by Frank Abagnale, Jr.  Learn more about the album, and pre-order the CD here:
http://sh-k-boom.com/catchmeifyoucan.shtml

Watch the cast of CATCH ME perform DON’T BREAK THE RULES, led by Tony Award winner Norbert Leo Butz, on The Late Show With David Letterman:
http://www.cbs.com/late_night/late_show/video/?pid=5rNjdww_6RS9Ek7gCjDowSXtQ2TeskcU


OCR Track Listing:
1. LIVE IN LIVING COLOR
2. THE PINSTRIPES ARE ALL THAT THEY SEE
3. SOMEONE ELSE’S SKIN
4. JET SET
5. DON’T BREAK THE RULES
6. BUTTER OUTTA CREAM
7. THE MAN INSIDE THE CLUES
8. CHRISTMAS IS MY FAVORITE TIME OF YEAR
9. DOCTOR’S ORDERS
10. DON’T BE A STRANGER
11. LITTLE BOY, BE A MAN
12. SEVEN WONDERS
13. (OUR) FAMILY TREE
14. FLY, FLY AWAY
15. GOODBYE
16. STUCK TOGETHER (STRANGE BUT TRUE)
BONUS
17. FIFTY CHECKS

CATCH ME IF YOU CAN captures the astonishing true story of Frank Abagnale, Jr., a world-class con artist who passed himself off as a doctor, a lawyer, and a jet pilot—all before the age of 21.  With straight-arrow FBI agent Carl Hanratty on Frank's trail, we're off on a jet-setting, cat-and-mouse chase, as a jazzy, swinging-sixties score keeps this adventure in constant motion.  In the end, Agent Hanratty learns he and Frank aren't so very different after all,  and Frank finds out what happens when love catches up to a man on the run.  For more information and tickets to the show, visit www.catchmethemusical.com .


CATCH ME IF YOU CAN – Broadway Production Quotes:
“A spectacular specTacular! This splashy broadway musical takes you through the night with flying colors and a few bonus miles left over!”  –New York Magazine

“hot diggity! The 1960s has become Broadway's decade du jour. This portrait of the con artist as a young man comes to ecstatic life.” –The New York Times

“TERRIFIC! FABULOUS! ABSOLUTELY MARVELOUS! More gorgeous legs than a Busby Berkeley film! A REAL BROADWAY MUSICAL! Showstoppers to enthrall just about everyone! BE SURE TO CATCH IT!” –David Richardson, WOR Radio

“THE BEST NEW MUSIC ON BROADWAY!” –Variety

CATCH ME delivers the goodies! High Spirits & higher legs!” –Bloomberg News

“A MUST-SEE!” –Andy Cohen, Bravo

CATCH ME DAZZLES BROADWAY! IT’S a sheer delight! The songs deliver a genuine jolt of pleasure to the audience again and again.” –The Huffington Post

“CATCH IT IF YOU CAN! THE FUN IS CONTAGIOUS! MUSICAL THEATER MAGIC!” –Philadelphia Inquirer

“CATCH ME will move you to live life to the fullest and dance past anything standing in your way. Get your seats now!” –Vanity Fair

"Joys aplenty! CATCH ME delivers plenty of bang for your buck!" –Roma Torre, NY1

“Sexy. Classy. Gorgeous.” –Daily News

“Sexy & swinging!” -Time Out NY

"THIS SHOW'S GOT EVERYTHING!" -Joan Hamburg, WOR Radio



More about the Broadway Production:

CATCH ME IF YOU CAN began preview performances on Friday, March 11, 2011 at Broadway’s Neil Simon Theatre (250 West 52nd Street), and opened on Sunday, April 10, 2011.

CATCH ME IF YOU CAN is based on the book and hit 2002 DreamWorks film of the same name directed by Steven Spielberg with screenplay by Jeff Nathanson and book by Frank Abagnale, Jr.

Tony Award winner Norbert Leo Butz stars as Carl Hanratty and Aaron Tveit stars as Frank Abagnale, Jr. alongside Tony Nominee Tom Wopat as Frank Abagnale, Sr. and Tony Nominee Kerry Butler as Brenda Strong.  The cast also features Rachel De Benedet as Paula Abagnale, Linda Hart as Carol Strong, Nick Wyman as Roger Strong, Joe Cassidy, Timothy McCuen Piggee, Brandon Wardell, Sara Andreas, Alex Ellis, Will Erat, Jennifer Frankel, Lisa Gajda, Bob Gaynor, Kearran Giovanni, Jay Armstrong Johnson, Nick Kenkel, Grasan Kingsberry, Michael X. Martin, Aleks Pevec, Kristin Piro, Rachelle Rak, Joe Aaron Reid, Angie Schworer, Sabrina Sloan, Sarrah Strimel, Charlie Sutton, Katie Webber and Candice Marie Woods.

CATCH ME IF YOU CAN features a Tony Award-winning team, with a book by Terrence McNally (The Full Monty, Ragtime), an irresistible score by Marc Shaiman & Scott Wittman (Hairspray), choreography by Jerry Mitchell (Hairspray, Legally Blonde) and direction by Jack O’Brien (Hairspray, The Full Monty, Dirty Rotten Scoundrels).

Scenic design for CATCH ME IF YOU CAN is by David Rockwell (Hairspray), costume design is by five-time Tony Award winner William Ivey Long (The Producers), lighting design is by Tony Award winner Kenneth Posner (Wicked) and sound design is by Drama Desk winner Steve Kennedy (Jersey Boys).  The Music Director is John McDaniel.    

CATCH ME IF YOU CAN is produced on Broadway by Margo Lion, Hal Luftig, Stacey Mindich, Yasuhiro Kawana, Scott & Brian Zeilinger, The Rialto Group, The Araca Group, Michael Watt, Barbara & Buddy Freitag, Jay & Cindy Gutterman/Pittsburgh CLO, Elizabeth Williams, Johnny Roscoe Productions/Van Dean, Fakston Productions/Solshay Productions, Patty Baker/Richard Winkler, Nederlander Presentations Inc. and Warren Trepp, in association with Remmel T. Dickinson, Paula Herold/Kate Lear, Stephanie P. McClelland, Jamie deRoy, Barry Feirstein, Rainerio J. Reyes, Rodney Rigby, Loraine Boyle, Amuse Inc., Joseph & Matthew Deitch/Cathy Chernoff, and Joan Stein/Jon Murray.

CATCH ME IF YOU CAN opened at Seattle’s 5th Avenue Theatre for a limited engagement from July 23 – August 14, 2009.

Tickets for CATCH ME IF YOU CAN range from $30.00 - $137.00 and are available online and at The Neil Simon Theatre Box Office, 250 W. 52nd Street.  The playing schedule is as follows: Tuesday at 7pm, Wednesday at 2pm & 8pm, Thursday at 8pm, Friday at 8pm, Saturday at 2pm & 8pm, and Sunday at 3pm.

For more information please visit: http://www.catchmethemusical.com/

More about Sh-K-Boom / Ghostlight Records:
Sh-K-Boom with its imprint Ghostlight Records has become the leading independent force in Original Broadway Cast Recordings – building a library of over 100 records the last 10 years, featuring the most successful Broadway musicals and solo albums by Broadway’s biggest stars. Founded by Kurt Deutsch and wife Sherie Rene Scott, the label was created by and for the Broadway community and has garnered acclaim not only for their high-quality recordings, but for their innovative marketing techniques and efforts to reach the next generation of Broadway music fans via iTunes, music videos and more. The label (and President Kurt Deutsch) earned their first ever GRAMMY AWARD for the Tony Award-winning musical In the Heights. In recent Broadway seasons, Ghostlight has also preserved the scores of some of Broadway's biggest musicals, including Next to Normal, Hair, Bloody Bloody Andrew Jackson, Legally Blonde, Everyday Rapture, Passing Strange, Dirty Rotten Scoundrels, The 25th Annual Putnam County Spelling Bee and The Drowsy Chaperone. Just released on the label are the OCR of Sister Act, as well as solo albums from Tony winners Sutton Foster, Alice Ripley, Christine Ebersole and Ben Vereen. Coverage of their albums has ranged from Rolling Stone to USA TODAY to The New York Times, from Blender Magazine to Playbill to Billboard, from AP Radio to Entertainment Weekly, from New York Magazine to Variety to NY-1 TV, from Time Out NY to Paper Magazine to The Advocate to The NY Daily News and much more. President Kurt Deutsch was interviewed by PLAYBILL, regarding the label's embrace of 'Broadway's Digital Age': http://www.playbill.com/features/article/118331.html. The company is recognized for reinventing the musical theatre recording landscape, and creating a new type of ‘United Artists’ environment for Broadway producers and artists to participate in the funding and co-ownership of their albums.


Visit http://sh-k-boom.com/catchmeifyoucan.shtml
Visit www.ghostlightrecords.com

Sh-K-Boom/Ghostlight Records Unveils
‘THE LEAGUE OF BROADWAY SUPER FRIENDS’ -
Artists Joining Together to Support Those in Need


Five-Part Harmony Singing Group, ‘Joining Forces and Voices For Good’

Debut Concert Set for June 7th, Featuring Kelli O’Hara, Greg Naughton, Sherie Rene Scott, Gavin Creel & Lindsay Mendez, to Raise Funds in the Fight Against Pancreatic Cancer


Sh-K-Boom/Ghostlight Records is proud to reveal the secret identities of THE LEAGUE OF BROADWAY SUPER FRIENDS -- a five-part harmony-singing group featuring Broadway’s brightest stars and biggest talents. Their inaugural concert will present Kelli O’Hara, Lindsay Mendez, Gavin Creel, Greg Naughton and Sherie Rene Scott, joining forces and voices for good: a June 7th benefit concert at Le Poisson Rouge, to raise funds in the fight against Pancreatic Cancer. Tickets will go on-sale at 10am on Monday, May 16h. More details here: http://sh-k-boom.com/leagueofbroadwaysuperfriends/

THE LEAGUE OF BROADWAY SUPER FRIENDS
Benefit Concert to Raise Funds for Pancreatic Cancer Research
JUNE 7TH, 2011
LE POISSON ROUGE
158 Bleecker Street
New York, NY 10012
Phone: (212) 505-FISH (3474)
Ticket price: $25
A limited number of $50 ‘Prime Seating’ tickets will be available as well
Music Direction and Arrangements by Marco Paguia.
Additional Arrangements by Todd Almond.

All upcoming concerts by THE LEAGUE OF BROADWAY SUPER FRIENDS will benefit a designated organization in need. Additional events and beneficiaries will be announced soon.

Since its inception, Sh-K-Boom/Ghostlight Records has presented numerous concerts (originating as the award-winning “Sh-K-Boom Room” concert series) bringing Broadway’s top talent together for unforgettable evenings of magnificent harmony, raising money for a host of important charities.  Originating at New York City’s The Cutting Room, these concerts have found homes in venues all over town, from Joe’s Pub to The Village Theater to Broadway’s New Amsterdam Theater. Now, Sh-K-Boom/Ghostlight is proud to return to its roots, returning to Le Poisson Rouge (formerly The Village Theater) and bringing the inspirational power of Broadway’s best together to give something back to those in need.

More about Gavin Creel:
Two-time Tony Award nominee, Gavin Creel, independently released his new EP "Quiet" which in its first week broke onto the Billboard Heatseekers Album Chart. As a follow-up to his debut album, "GOODTIMENATION" Creel has written and recorded six original acoustic session songs for his new EP. This intimate collection includes fan favorite “Hot Ohio,” a song Creel describes as, “a simple ode to the kid out there with big time dreams, trapped in a small town...with no air conditioning.” Creel received his Tony® nominations for HAIR and THOROUGHLY MODERN MILLIE. He was also seen in the 2004 Broadway Revival of LA CAGE AUX FOLLES, The Goodman Theatre/Kennedy Center production of BOUNCE, as well as HAIR and MARY POPPINS in London. Creel is also a respected advocate for the LGBT community. In the fall of 2009, he was honored as one of OUT Magazine’s OUT 100 for his work as co-founder of Broadway Impact, a grassroots organization of the theatre community fighting for marriage equality. Through his advocacy, Creel has gained national attention performing and speaking at events and rallies including the Human Rights Campaign (HRC) national dinner alongside Lady Gaga and keynote speaker President Obama; The Cyndi Lauper True Colors Cabaret series featuring Jason Mraz, Rufus Wainwright, and Sara Bareilles; and on the Capitol lawn at the 2009 National Equality March with such speakers as MILK screenwriter Dustin Lance Black, actress Cynthia Nixon, and organizer of the march and AIDS Memorial Quilt conceiver, Cleve Jones. http://www.gavincreel.com/

More about Lindsay Mendez:
Lindsay Mendez
was most recently seen on Broadway in Roundabout’s Tony-Nominated production of Everyday Rapture, directed by Michael Mayer. She made her Broadway debut as Jan in the 2007 revival of Grease, directed by Kathleen Marshall.  Off-Broadway: Everyday Rapture (2nd Stage Theater), The Marvelous Wonderettes (West Side Theater).  Other recent credits include: Jacques Brel… (Two Rivers Theater Company), 35MM (Urban Stages, directed by Daisy Prince), The Trouble With Doug (NAMT, directed by Victoria Clark), The Marvelous Wonderettes (Sacramento Music Circus), Band Geeks! (NAMT), Rated RSO; The Music and Lyrics of Ryan Scott Oliver (The Kennedy Center, NYMF), Footloose (Sacramento Music Circus, Kansas City Starlight), Princesses (NAMT, Goodspeed Opera House, 5th Avenue Theater), Grease, (European Tour, Fulton Opera House), Call Me Madam (Reprise!), Go the Distance, and The Lyrics of David Zippel (Jazz at Lincoln Center, Kaufman Center). Recordings include: “Grease” (OCR), “New York City Christmas” (a benefit for ASTEP), and “Everyday Rapture” (OCR). Lindsay can be seen and heard all over New York City singing jazz and contemporary music with her collaborator Marco Paguia, and his jazz trio. www.LindsayMendez.net

More about Greg Naughton:
Greg Naughton’s
work as a singer and songwriter has brought him all around the world, playing rooms ranging from Germany’s grittiest, to the East Room of the White House.   He is best known for his work as 1/3 of the band, THE SWEET REMAINS, recently featured by USA Today as a “Listen-up” pick-of-the-week, and to be featured later this month on NYC’s WFUV radio (90.7fm) as part of John Platt’s “On Your Radar” series promoting noteworthy new artists.  Since releasing their debut CD “Laurel & Sunset” in 2008, The band has toured extensively throughout the united States and Europe winning the praise of critics and fans for their strong lyrical and melodic songwriting and lush 3-part harmonies that define the band’s sound.  Greg’s songs have also been covered by many other recording artists (including his Wife and fellow LBSG-member, Kelli O’Hara on her debut CD, produced by Harry Connick, JR), and will be featured on several upcoming releases this year, including a Putamayo Records “Acoustic Café” compilation that spotlights one of greg’s songs as performed by the Sweet Remains.  Before devoting himself to music, Greg began his career as an actor and Director, founding and Artistic-Directing the acclaimed Blue Light Theater Company in NY through 6 seasons and 16 productions, including the Obie-Winning “Oedipus” (starring Frances McDormand and Billy Crudup), “Waiting for Lefty” (directed by Joanne Woodward, starring Marisa Tomei), and their inaugural “Golden Boy” in which Greg also played the title role, opposite his Father, 2-time tony winner, James Naughton.    Greg still acts occasionally, most recently portraying street-singer “Jack King” in last year’s film “Clear Blue Tuesday”, and winning a NYMF “excellence” Award for his role in Paul Scott Goodman’s “Alive in the world”.    GREG and The SWEET REMAINS’ music can be found on most online outlets (and Itunes), as well as the band’s website, TheSweetRemains.com

More about Kelli O’Hara:
Kelli O'Hara is a Three-Time Tony Award nominated actress for her starring roles in the critically acclaimed productions of "South Pacific" and "The Light in the Piazza" at Lincoln Center and "The Pajama Game" opposite Harry Connick Jr. at The Roundabout Theatre Company.  Other Broadway: "The Sweet Smell of Success" opposite John Lithgow, "Sondheim's Follies," "Dracula" and "Jekyll & Hyde." Most recently, Kelli has been touring the country singing with jazz trios to symphony orchestras and making solo debuts garnering critical acclaim with the NY Pops at Carnegie Hall, the NY Philharmonic at Avery Fisher Hall, The Philly Pops, The Boston Pops, The Seattle Symphony, The NSO at The Kennedy Center and the Memorial Day Live from DC Concert which aired live on PBS.  Kelli performed at the 2008 Kennedy Center Honors as part of the Barbra Streisand tribute and again at the 2010 Kennedy Center Honors as part of the Jerry Herman tribute. With her band, Kelli has performed her solo show at The Cafe Carlyle, Feinsteins, The Allen Room, Joe's Pub, and Lincoln Center, among others.Upcoming engagements take her to Town Hall, Tanglewood, Ravinia, and to Washington DC for the July 4th Concert that will be televised on PBS. Kelli’s recordings include South Pacific (Sony), The Light in the Piazza (Nonesuch records; Grammy nomination), The Pajama Game (Sony; Grammy nomination), The Sweet Smell of Success (Sony), My Life with Albertine (PS Classics), Dream True (PS Classics), Jule Styne Goes Hollywood (PS Classics), and her solo debut album "Wonder in the World" on Ghostlight Records. Kelli recently recorded her second solo album entitled “Always” which will be released May 31, 2011. www.kelliohara.com

More about Sherie Rene Scott:
SHERIE RENE SCOTT
performed and co-wrote the critically acclaimed Everyday Rapture with Dick Scanlan, on Broadway at The Roundabout's American Airlines theatre (2 Tony nominations, Best Actress and Best Book of a musical, 3 Drama Desk nominations, Best Actress, Best Book, and Best Musical) and also at Second Stage Theater (Lortel nominations Best Book, Actress and Musical) She has created roles for the original Broadway productions of Lincoln Center Theater's Women on the Verge of a Nervous Breakdown (Drama Desk nomination), The Little Mermaid (OCC nomination), Dirty Rotten Scoundrels (Tony, Drama Desk, OCC nominations), Elton John and Tim Rice's Aida (Derwent Award), Tommy and the original production of The Last Five Years (Drama Desk nomination). Also appeared in Landscape of the Body (Obie Award, Lucille Lortel Award), Rent, Debbie Does Dallas, Randy Newman's Faust, Kander & Ebb's Over and Over (Helen Hayes nomination). She is a graduate of the Neighborhood Playhouse. With husband Kurt Deutsch she co-founded Sh-K-Boom/Ghostlight records (www.sh-kboom.com) which has produced more than 100 albums. Sh-K-Boom has received a Grammy Award, seven Grammy nominations and Drama Desk and New York Musical Theatre Festival awards for dedication to the preservation of musical theatre through cast recordings.

More about Sh-K-Boom / Ghostlight Records:
Sh-K-Boom with its imprint Ghostlight Records has become the leading independent force in Original Broadway Cast Recordings – building a library of over 100 records the last 10 years, featuring the most successful Broadway musicals and solo albums by Broadway’s biggest stars. Founded by Kurt Deutsch and wife Sherie Rene Scott, the label was created by and for the Broadway community and has garnered acclaim not only for their high-quality recordings, but for their innovative marketing techniques and efforts to reach the next generation of Broadway music fans via iTunes, music videos and more. The label (and President Kurt Deutsch) earned their first ever GRAMMY AWARD for the Tony Award-winning musical In the Heights. In recent Broadway seasons, Ghostlight has also preserved the scores of some of Broadway's biggest musicals, including Next to Normal, Hair, Bloody Bloody Andrew Jackson, Legally Blonde, Everyday Rapture, Passing Strange, Dirty Rotten Scoundrels, The 25th Annual Putnam County Spelling Bee and The Drowsy Chaperone. Just released on the label are the OCR of Sister Act, as well as solo albums from Tony winners Sutton Foster, Alice Ripley, Christine Ebersole and Ben Vereen. Coverage of their albums has ranged from Rolling Stone to USA TODAY to The New York Times, from Blender Magazine to Playbill to Billboard, from AP Radio to Entertainment Weekly, from New York Magazine to Variety to NY-1 TV, from Time Out NY to Paper Magazine to The Advocate to The NY Daily News and much more. President Kurt Deutsch was interviewed by PLAYBILL, regarding the label's embrace of 'Broadway's Digital Age': http://www.playbill.com/features/article/118331.html. The company is recognized for reinventing the musical theatre recording landscape, and creating a new type of ‘United Artists’ environment for Broadway producers and artists to participate in the funding and co-ownership of their albums.


Visit www.ghostlightrecords.com

Visit: http://sh-k-boom.com/leagueofbroadwaysuperfriends/

NPR’S ‘FIRST LISTEN’
PREMIERES THE CAST RECORDING FOR

FIRST BROADWAY CAST RECORDING TO EVER BE PRESENTED ON NPR’S ‘FIRST LISTEN’

CLICK LINK BELOW TO LISTEN TO

THE TONY AWARD-NOMINATED SCORE FOR
THE BOOK OF MORMON

 

NOTE: Ghostlight Records will release the Original Broadway Cast Recording for THE BOOK OF MORMON, the critically acclaimed new Broadway musical from Trey Parker and Matt Stone, the creators of the landmark Comedy Central series “South Park,” and Robert Lopez, the co-creator of the Tony Award-winning musical Avenue QThe recording will be available digitally on Tuesday, May 17 and physically on Tuesday, June 7.

First Listen: Cast Recording, 'The Book Of Mormon'

by Trey Graham

May 8, 2011

 

The sheer filthiness of The Book of Mormon shouldn't surprise anyone: Broadway's biggest new hit came from the minds behind South Park and Avenue Q, both shining examples of cheerful modern smut. With that provenance, (un)serious laughs were pretty much a given.

What wasn't so sure a thing — even when you remember how much fun the showtune parodies in the South Park movie were — was that it would work as a musical. Broadway musicals don't work like movies: Songwriting and show-building are both part science and part alchemy, and this time South Park's Trey Parker and Matt Stone were working not with veteran hit-writer Marc Shaiman, but with Robert Lopez, whose success with Avenue Q involved another collaborator entirely.

But not since Shaiman's Hairspray has a Broadway score been so ridiculously infectious from its very first moments. (The ding-dong delights of "Hello," with its doorbell chimes and peppy Sousa-march orchestrations, are downright intoxicating.)

And not since The Producers has a creative team had so much fun both sending up and celebrating the corny, open-hearted glories of the musical comedy form. It's one thing to write a hellfire-tempting parody of a gigantic target like "Hakuna Matata," as these guys do in "Hasa Diga Eebowai," whose title translates to an unprintably blasphemous bit of faithful-baiting. It's another level of fanboy geekery entirely to wrap up your first act with a knowing number like "Man Up," a to-the-footlights rouser that mocks rock operas from Rent to Rock of Ages in one full-throated measure and hat-tips an art-musical landmark like Jason Robert Brown's Songs for a New World in the next. It navigates the transitions between styles as confidently as any Tunick, too; this is confident, witty pastiche, from a team that knows what makes good Broadway songs and why people respond to them. And the performances on the cast album, due May 17 in digital formats and June 7 in stores, are first-class — polished, energetic turns from little-known names who've clearly written their tickets with this show.

 

Click the link below to read the rest of the story and to listen to the Tony Award-nominated score for THE BOOK OF MORMON:

http://www.npr.org/2011/05/09/136054170/first-listen-cast-recording-the-book-of-mormon?ps=mh_fl

 

# # # #

Ghostlight To Release Sister Act Original London Cast Recording Featuring Olivier Award Nominee Patina Miller, Currently Reprising Her Acclaimed Performance on Broadway

U.S. Release of CD is March 22nd Digital, March 29th Brick-and-Mortar

Features Original Score With Music by Eight-time Oscar and Ten-Time Grammy Award Winner Alan Menken and Lyrics by Tony and Academy Award-Nominee Glenn Slater

London Musical Sensation Hits Broadway March 24th, Directed by Four-Time Tony Winner Jerry Zaks

Get Sister Act Tickets on Brodaway

 

Ghostlight Records will release the Original London Cast Recording of SISTER ACT in the U.S., on March 22nd (digital) and on March 29th (brick-and-mortar). The acclaimed musical comes to Broadway beginning March 24th, and CDs will be available for purchase at the Broadway Theater as well. Fans who order the album now via Ghostlight's site will have hard copies shipped upon check-out: http://sh-k-boom.com/sisteract.shtml. Oliver Award nominee Patina Miller, star of the London production, reprises her role as Deloris on Broadway, and appears on the new CD. The album was produced by Doug Besterman, Michael Kosarin and Alan Menken.

SISTER ACT features an original score with music by multi-Academy, Grammy and Golden Globe Award-winning composer Alan Menken (Little Shop of Horrors, Beauty and the Beast, The Little Mermaid and Enchanted), lyrics by Tony and Academy Award-nominee Glenn Slater (The Little Mermaid), and a book by multi-Emmy Award winners Cheri and Bill Steinkellner ("Cheers") with additional book material by Tony and Olivier Award nominee Douglas Carter Beane (Xanadu, The Little Dog Laughed). Directed on Broadway by four-time Tony Award winner Jerry Zaks (Guys and Dolls, A Funny Thing…Forum, Smokey Joe's Café), the production features choreography by Tony and Olivier Award nominee Anthony Van Laast (Mamma Mia, Bombay Dreams) and is based on the Touchstone Pictures motion picture Sister Act written by Joseph Howard. More information about the Broadway production, here: www.sisteractonbroadway.com <http://www.sisteractonbroadway.com>

Watch the cast of SISTER ACT perform on ABC-TV's THE VIEW: http://www.youtube.com/watch?v=utBD6eSLeqM&feature=player_embedded

More about the production: When disco diva Deloris witnesses a crime, the cops hide her in the last place anyone would think to look – a convent! Under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own. A sparkling tribute to the power of friendship, Sister Act is reason for Broadway to rejoice!

CD Track List:
Prologue
Take Me To Heaven
Fabulous, Baby!
Here Within These Walls
How I Got The Calling
When I Find My Baby
Do The Sacred Mass
I Could Be That Guy
Raise Your Voice
Take Me To Heaven (Reprise)
Sunday Morning Fever
Lady In The Long Black Dress
Bless Our Show
Here Within These Walls (Reprise)
The Life I Never Led
Fabulous, Baby! (Reprise)
Sister Act
The Life I Never Led (Reprise)
Sister Act (Reprise)
Spread The Love Around

The London production of SISTER ACT earned rave reviews:

"IRRESISTIBLE! ONE BIG, SPIRIT-SOARING JOYFUL NOISE!" - The Times of London

"GLORIOUS FUN! ONE LEAVES 'SISTER ACT' FEELING BLESSED!"- The Daily Telegraph

"★★★★★!'SISTER ACT' BRINGS GENUINE RAYS OF HEAVENLY HAPPINESS TO THE STAGE!" - Daily Express London

"★★★★★!A HABIT-FORMING TRIUMPH!" - The London Evening Standard

More about Ghostlight Records:
Sh-K-Boom Records, with its imprint Ghostlight Records, proudly celebrates its 10th Anniversary this year. Founded by Kurt Deutsch and wife Sherie Rene Scott in 2001, the label has emerged as the leading independent force in musical theatre recordings. The label was created by and for the Broadway community. The label has since emerged as the standard bearer on the Broadway music scene. Their releases of the OCRs for Tony winners In The Heights and Passing Strange, as well as their single release featuring the winner of MTV's Legally Blonde The Musical competition, have brought them acclaim for their innovative marketing techniques and their efforts to reach the next generation of Broadway music fans via iTunes, music videos and more. The label (and President Kurt Deutsch) recently earned their first ever GRAMMY AWARD for In The Heights. Coverage has ranged from Rolling Stone to USA TODAY to The New York Times, from Blender Magazine to Playbill to Billboard, from AP Radio to Entertainment Weekly, from New York Magazine to Variety to NY-1 TV, from Time Out NY to Paper Magazine to The Advocate to The NY Daily News and much more. Other current releases include the double CD collector's edition of 'Reefer Madness' and 'Patti LuPone at Les Mouches,' which received expansive and wildly favorable media overage. Their release of Sutton Foster's solo CD, 'Wish', garnered coverage including two USA TODAY 'Listen Up Music Picks', an appearance on NBC-TV Weekend Today Show, and a debut on Billboard's Heatseekers Chart. Their releases of 'HAIR,' 'Next to Normal' and 'Everyday Rapture' garnered national coverage as well. President Kurt Deutsch was interviewed by PLAYBILL, regarding the label's embrace of 'Broadway's Digital Age': http://www.playbill.com/features/article/118331.html <http://www.playbill.com/features/article/118331.html> . This fall, Ghostlight released the Original Cast recording of 'Bloody, Bloody Andrew Jackson', 'Christine Ebersole Sings Noel Coward,' (The 2-time Tony winner's 3rd album on the label), and the Original Cast Recording of 'Ordinary Days,' all to rave reviews. The company is recognized for reinventing the musical theatre recording landscape, and creating a new type of 'United Artists' environment for Broadway producers and artists to participate in the funding and co-ownership of their albums.

Visit http://sh-k-boom.com/sisteract.shtml
Visit www.ghostlightrecords.com

Tuesday, 15 March 2011 11:45

Sutton Foster Releases New CD Today, Mar 15

20-Song Tour de Force ‘An Evening With Sutton Foster – Live at the Cafe Carlyle,’ Set for March 15th Release by Ghostlight Records


Foster’s “Irresistible Cabaret Show” Delivers:
“The radiance of Julia Roberts and the zany spunk of Holly Golightly: that only begins to describe the seductive charms of Sutton Foster” (NY TIMES – Stephen Holden)


Tony Winner Begins Previews in ‘Anything Goes’ on March 10th


Tony Winner Sutton Foster’s triumphant sold-out run at New York’s famed Cafe Carlyle comes home to listeners on March 15th, as Ghostlight Records proudly releases her 20-song tour de force ‘An Evening With Sutton Foster – Live at the Café Carlyle’. In an interview with THE LOS ANGELES TIMES, Foster emphasizes that ‘it's a concert, not cabaret, but adds that whatever you call it, "it's definitely quirky and weird -- and very much me."’

In his glowing NEW YORK TIMES review of her performance, Stephen Holden praised: “The radiance of Julia Roberts and the zany spunk of Holly Golightly: that only begins to describe the seductive charms of Sutton Foster in her irresistible cabaret show, “An Evening With Sutton Foster.” “The homespun sweetness that emanates from Ms. Sutton like a natural perfume — evoking fields and woods on a clear, warm Southern afternoon — is a quality that can’t be faked, easy though it may be to imitate.” See the full NY Times show review, below.

The New York shows were part of a 2010 Sutton Foster nationwide tour, which featured stops in Los Angeles, San Francisco, San Diego, St. Louis, Des Moines, Chicago, Sag Harbor, Dallas, Clearwater, Delray Beach, Charlotte, Midland (MI), Traverse City (MI) and more. Sold-out concerts and rave coverage followed, and samples of tour articles may be seen, below.

The concerts featured Musical Direction / Arrangements / Piano by Foster’s long-time collaborator Michael Rafter, and Guitars by Kevin Kuhn. The ensuing Ghostlight album was recorded live on June 26, 2010 at the Cafe Carlyle at The Carlyle Hotel, NYC, and was Produced for Records by Lawrence Manchester. Executive Producers are Kurt Deutsch, Sutton Foster, Fox Theatricals, Mike Isaacson and Kristin Caskey.

Listen to audio samples or download album, here.

Foster’s new CD is her second solo effort with Ghostlight Records. Her 2009 solo debut ‘WISH’ earned rave coverage in top outlets ranging from USA TODAY to NBC-TV’s WEEKEND TODAY SHOW to VARIETY and more.

Foster begins previews in ‘Anything Goes’ on March 10th, at the Stephen Sondheim Theatre. More details, video interviews and tickets, here:

Get Anything Goes Tickets

http://www.roundabouttheatre.org/broadway/anythinggoes/about.htm

TRACK LISTING - ‘An Evening With Sutton Foster – Live at the Cafe Carlyle’:
1)    I’m Beginning to See The Light (Duke Ellington, Don George, Johnny Hodges, Harry James)
2)   Dialog #1 -  Introductions
3)     Not For The Life Of Me/NYC/Astonishing (Dick Scanlan and Jeanine Tesori/Martin      Charnin, Charles Strouse/Jason Howland and Mindi Dickstein)
4)     Dialog #2 – Up on the Roof intro
5)     Up On The Roof (Carole King, Gerald Goffin)
6)     Air Conditioner (Christine Lavin)
7)     Warm All Over (Frank Loesser) Frank Music Corp
8)     Dialog #3 – Angel Cards
9)     Show Off (Lisa Lambert, Greg Morrison)
10)  More to the Story (David Lindsay-Abaire, Jeanine Tesori)
11)  My Heart Was Set On You (Jeff Blumenkrantz)
12)  Down With Love (Harold Arlen, E.Y. Harburg)
13)   I Like The Sunrise (Duke Ellington)
14)  Dialog #5 – Ho Cup Surprise
15)  Defying Gravity (Stephen Schwartz)
16)   Late Late Show (Murray Berlin, Roy Alfred)
17)  Dialog #6 – Jeopardy
18)  Sunshine on my Shoulders (John Denver, Richard Kniss, Michael Taylor)
19)  Anyone Can Whistle / Being Alive (Stephen Sondheim)
20)  Dialog #7 – Thank yous
21)  Come The Wild, Wild Weather (Noel Coward)
22)  Here, There, Everywhere (John Lennon, Paul McCartney)
23)  Dialog #8 – Encore
24)  And I Am Telling You (Tom Eyen, Henry Krieger)


SUTTON FOSTER AT THE CAFE CARLYLE - CD LINER NOTES by Mark Waldrop

Sutton Foster is the real deal.  Here’s one of the ways I know:
Pulling off a really great club act is one of the toughest feats in show business – even for a Broadway star like Sutton.  It takes so much more than assembling a list of songs and knocking them out of the park   (which pretty much defines a really bad club act.)  For the entertainers who elevate this intimate art form, the song list becomes a vehicle for delivering a distillation of their own unique personalities.  A friend of mine once said that the tricky thing about doing cabaret is that you have to be yourself on purpose.  This seemingly simple requirement has tripped up a surprising number of otherwise brilliant performers.  There’s no character to hide behind.  It’s just you up there, exposed.  To thrive in this setting, you have to be comfortable in your own skin.
Fortunately, Sutton knows who she is and occupies her own skin with perfect grace.  She brings to the stage the full range of her humanity (including a perversely hilarious sense of humor) and shares it with the kind of ease and simplicity that can only be achieved through hard work and discipline.  It also helps that the real Sutton Foster is a really wonderful person.
When Sutton was booked for the Cafe Carlyle, I’d already had the pleasure of working with her and her extraordinary music director and pianist, Michael Rafter, on two shows for Lincoln Center’s American Songbook series, engagements at Joe’s Pub and Feinstein’s, and a series of concert appearances around the country.  Everywhere she’d gone she’d enjoyed great success. But now I felt strangely intimidated.  The Carlyle was such a bastion of tradition; so Upper East Side; so, um… expensive.  Might some of the more raucous and theatrical elements in Sutton’s act be too much for this refined crowd?  Should we tone back?  Add a few more standards?  At a rehearsal I voiced these concerns, and Sutton received them respectfully. She said she’d think about them. When I saw her about a week later she said that, after giving it a lot of consideration, she wanted to do the show as planned – because it represented who she really was.  
And -- of course -- Sutton was right.  The engagement was a smash with rave reviews and a sold-out run.  The Café Carlyle audiences couldn’t have loved her more.  When you listen to this CD you won’t see her effortless on-stage costume change, her bejeweled “Pimp” and “Ho” cups, or how she can -- drum-roll, please -- touch the tip of her nose with her tongue.   But you will hear an incomparable voice in full bloom and experience the fresh, one-of-a-kind personality that comes through in every word and every note.  To witness any performance by Sutton Foster is to receive an infusion of joy.  With this CD, that joy is yours whenever you want it.



THE NEW YORK TIMES
Innocence and Nerve Wrapped Into One
June 16, 2010 Concert Review, By Stephen Holden  http://www.nytimes.com/2010/06/17/arts/music/17foster.html


The radiance of Julia Roberts and the zany spunk of Holly Golightly: that only begins to describe the seductive charms of Sutton Foster in her irresistible cabaret show, “An Evening With Sutton Foster,” at the Cafe Carlyle. Directed by Mark Waldrop, it might be described as a successful Moon shot in which it discovered that the orb is really made of green cheese; that’s one small step for cosmic dairy products.
The homespun sweetness that emanates from Ms. Sutton like a natural perfume — evoking fields and woods on a clear, warm Southern afternoon — is a quality that can’t be faked, easy though it may be to imitate. One essential ingredient is an element of surprise.
It is embedded in singing in which her childlike wail suddenly breaks into a wide-open vibrato, and tension is released in a happy gasp of enthusiasm as she breaks into a clearing. It turns her performance of “Down With Love” into a tour de force of spontaneous peevishness in which her face and body go through a dozen variations of lighthearted disgust with romance and its disappointments.
The other essential ingredient is the contribution of her musical director Michael Rafter, a pianist and arranger attuned to the tiniest nuances of Ms. Foster’s sensibility. Using only one other instrumentalist, the guitarist Kevin Kuhn, who plays a little banjo and ukulele, Mr. Rafter invents buoyant, folksy musical settings in which Ms. Foster becomes a storybook ingénue shape-shifting from song to song.
A turning point in the show arrives with the number “The Big Book of High Belt Songs,” in which she has an audience member (on Tuesday’s opening night show it was Zach Braff) dip a hand into one of two mugs labeled “pimp” and “ho” and select one of five Broadway song choices. The lucky winner: “Defying Gravity,” from “Wicked.” I would love to have heard her rendition of the great Maltby-Shire ballad “The Story Goes On” (from the musical “Baby”), one of the other four possibilities.
In the show Ms. Foster covers a lot of Broadway territory, including numbers from “Thoroughly Modern Millie,” “Annie,” “Little Women,” “The Drowsy Chaperone” and “Shrek: the Musical.” She also performs numbers from her 2009 album “Wish” (Ghostlight), including Duke Ellington’s “I Like the Sunrise” and John Denver’s “Sunshine on My Shoulders” that underscore her image as a sort of country Cinderella living a waking dream.
The show’s reflective side culminates with Sondheim’s “Anyone Can Whistle” joined to a version of “Being Alive” that is like no other I’ve heard. Ms. Foster zeroes in on the fear of coming out of your shell expressed in both songs, and chooses the perfect six words — “But alone is alone, not alive” — from “Being Alive” to emphasize the scary realization that having come so far, there is no turning back. As she transcends her indecision, Ms. Foster is completely in the moment.


Small sampling of tour coverage:


Los Angeles Times Tour Feature: http://www.latimes.com/entertainment/news/arts/la-et-sutton-foster29-2010apr29,0,7910523.story


Chicago Tribune concert review: A “remarkable mix of steely determination, pitch-perfect sound and girl-next-door vulnerability…”
http://leisureblogs.chicagotribune.com/the_theater_loop/2010/09/an-evening-with-sutton-foster-at-broadway-playhouse-foster-opens-the-playhouse-on-a-high-note.html


San Francisco Chronicle Tour Q&A: http://articles.sfgate.com/2010-02-11/entertainment/17871960_1_sutton-foster-musicals-tony-award


Chicago Sun-Times Feature:
http://www.suntimes.com/entertainment/weiss/2738338,CST-FTR-sutton23.article


Time Out Chicago Tour Q&A: http://timeoutchicago.com/arts-culture/unscripted-blog/96854/qa-with-broadways-sutton-foster


MORE ABOUT SUTTON FOSTER: (bio from ‘Anything Goes’ site)
Sutton Foster recently starred on Broadway as Princess Fiona in Shrek: The Musical, for which she was honored with Tony and Drama Desk nominations, and the Outer Critics Circle Award. Prior to that, Sutton was Inga in the Mel Brooks musical, Young Frankenstein, Janet Van De Graaff in The Drowsy Chaperone (2006 Tony and Drama Desk Award nominations, LA Ovation Award) and Jo March in Little Women: The Musical (2005 Tony, Drama Desk, Outer Critics Circle Award nominations). She is the recipient of the 2002 Tony, Drama Desk, Outer Critics Circle, and Astaire Awards for her performance as Millie Dillmount in Thoroughly Modern Millie, a role she created in the 2000 La Jolla Playhouse premiere. Other Broadway credits include Les Miserables, Annie, The Scarlet Pimpernel, and Grease!. Regional productions include What the World Needs Now (Old Globe), Dorian (Goodspeed), The Three Musketeers (San Jose Musical Theater), Nellie Forbush in South Pacific and Sally in Me and My Girl (both at Pittsburgh CLO). She has toured nationally in The Will Rogers Follies, Les Miserables, and Grease!. She has appeared as Svetlana in Chess in Concert and as the “I'm the Greatest Star” Fanny Brice in Funny Girl in Concert, both Actors Fund of America benefits. On television, Sutton recently guest starred on “Law & Order: SVU.” Other appearances include the Disney Channel's “Johnny and the Sprites” and several episodes of the HBO series, “The Flight of the Conchords.” Sutton has performed in concert at Lincoln Center's American Songbook series, with Peter Nero and the Philly Pops, with the New York Pops at Carnegie Hall, at Feinstein's, Joe's Pub, and at concert halls and theaters across the country. Recordings include The Maury Yeston Songbook (PS Classics), Jule Styne in Hollywood, and the original cast recordings of Thoroughly Modern Millie, Little Women, The Drowsy Chaperone, Young Frankenstein and Shrek. Her debut solo CD, Wish (Ghostlight Records), was recently released to critical acclaim and is now available in stores. She has just completed a sold-out limited run of the highly-anticipated City Center Encores! production of Stephen Sondheim's Anyone Can Whistle, starring as Nurse Fay Apple. She is a proud teacher at New York University and Ball State University. Visit her website: www.suttonfoster.com .



More about Ghostlight Records:
Sh-K-Boom Records, with its imprint Ghostlight Records, proudly celebrates its 10th Anniversary this year.  Founded by Kurt Deutsch and wife Sherie Rene Scott in 2001, the label has emerged as the leading independent force in musical theatre recordings.  The label was created by and for the Broadway community. The label has since emerged as the standard bearer on the Broadway music scene. Their releases of the OCRs for Tony winners In The Heights and Passing Strange, as well as their single release featuring the winner of MTV's Legally Blonde The Musical competition, have brought them acclaim for their innovative marketing techniques and their efforts to reach the next generation of Broadway music fans via iTunes, music videos and more. The label (and President Kurt Deutsch) recently earned their first ever GRAMMY AWARD for In The Heights. Coverage has ranged from Rolling Stone to USA TODAY to The New York Times, from Blender Magazine to Playbill to Billboard, from AP Radio to Entertainment Weekly, from New York Magazine to Variety to NY-1 TV, from Time Out NY to Paper Magazine to The Advocate to The NY Daily News and much more. Other current releases include the double CD collector's edition of 'Reefer Madness' and ‘Patti LuPone at Les Mouches,’ which received expansive and wildly favorable media overage. Their release of Sutton Foster’s solo CD, ‘Wish’, garnered coverage including two USA TODAY ‘Listen Up Music Picks’, an appearance on NBC-TV Weekend Today Show, and a debut on Billboard’s Heatseekers Chart. Their releases of ‘HAIR,’ ‘Next to Normal’ and ‘Everyday Rapture’ garnered national coverage as well. President Kurt Deutsch was interviewed by PLAYBILL, regarding the label's embrace of 'Broadway's Digital Age': http://www.playbill.com/features/article/118331.html. This fall, Ghostlight released the Original Cast recording of 'Bloody, Bloody Andrew Jackson', 'Christine Ebersole Sings Noel Coward,' (The 2-time Tony winner's 3rd album on the label), and the Original Cast Recording of 'Ordinary Days,' all to rave reviews.  The company is recognized for reinventing the musical theatre recording landscape, and creating a new type of ‘United Artists’ environment for Broadway producers and artists to participate in the funding and co-ownership of their albums.



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